But, the updated non-verbal cues, and Rufus Didwiszus’ starkly somber and simple scenery (accentuated by Alessandro Carletti’s clever use of lighting), in addition to Victoria Behr’s formfitting couture, hint at a time closer to the present despite the story’s placement in 19th century Paris. Granted, the premise has also remained the same. Hawk, and Saimir Pirgu in LA Opera’s 2019 production of “La Bohème.” Photo credit: Cory Weaver (L-R) Nicholas Brownlee, Kihun Yoon, Michael J. In fact, it’s the first time in 25 years that “La Bohème” has experienced such a makeover.
What is intriguing for audiences who experience LA Opera’s 2019-20 season opener, however, is that the European opera giant, director Barrie Kosky, has brought his reconception of the four-act opera from the Komische Opera Berlin to Los Angeles, making it more evocative, existential, and edgier. The inherent tragedy of “La Bohème” remains unchanged. And similar to LA Opera’s last offering, “La Traviata,” the premise concerns the deterioration of the female protagonist’s health (due to tuberculosis) – a misfortune that also devastates the love-struck male counterpart who falls for her.
The following review of LA Opera’s “La Bohème” is based on the Wednesday, October 2nd performance. The last showing of this production is on Sunday, October 6th at 2 pm.Ĭomposed in 1895, and having debuted the subsequent year, Giacomo Puccini’s “La Bohème,” with its Italian libretto by Giuseppe Giacosa and Luigi Illica, has unquestionably become one of the few operas that even novices of the genre can name.
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